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Sharp-tongued, indomitable, and beloved actress Dame Maggie Smith dies at 89

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Sharp-tongued, indomitable, and beloved actress Dame Maggie Smith dies at 89

Oscar, Emmy, and Tony-winning actor Maggie Smith played everything from wistful ingenues in Shakespeare to Harry Potter’s Prof. McGonagall and the Dowager Countess in Downton Abbey. She died Friday at age 89.

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Dame Maggie Smith – whose acting career spanned seven decades and traversed the stage and screen – has died at age 89. She passed away peacefully surrounded by family and friends on Friday morning, her publicist confirmed.

Smith was once so slender and delicate as Desdemona that Laurence Olivier’s Othello could easily smother her with a pillow. By the end of her career, no one would’ve dared try.

Though she was fine-featured and stood barely five-foot-five, casting directors realized early-on that her characters would inevitably appear indomitable, whether she was bristling with epithets in Shaw, casting spells as Harry Potter’s Professor McGonagall, or silencing opposition with sideways glances as Downton Abbey‘s formidable Lady Violet.

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Act One: Precise diction in her prime

What Maggie Smith learned about holding audiences rapt, she learned early. She arrived on the professional stage in her teens, and graduated quickly to Britain’s National Theater, the West End and Broadway, where her precise diction proved ideal for delivering the barbs of restoration comedy, and the epigrams of Noel Coward. Let her play the sort of chatterbox that George Bernard Shaw wrote in The Millionairess, and it was sometimes hard for her co-stars to get a word in edgewise.

Almost as nonstop was the title role that won her a Best Actress Oscar in 1970 — her deluded teacher at a Scottish girls’ school in The Prime of Miss Jean Brodie.

“Give me a gherll at an impressionable age,” she purred, “and she is mine for life.”

The character was not, in fact, in her prime, but Smith most definitely was. In the next eight years, she starred in six films, including Travels With My Aunt and Death on the Nile, triumphed on TV in everything from Shakespeare’s The Merchant of Venice to The Carol Burnett Show, and on stage, held title roles from Hedda Gabler to Peter Pan.

Maggie Smith in February 1969.

Maggie Smith in February 1969.

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All of this before winning another Oscar in Neil Simon’s California Suite, for playing multiple characters including a conniving actress who is herself up for an Oscar, and who practices a delicious, hammily self-deprecating acceptance speech at one point, saying she doesn’t want to “sob all over Burt Reynolds.”

No sobs in Smith’s actual acceptance speech at the Oscars. She thanked her writer, director and co-star.

Act Two: Best exotic roles, some written just for her

All of this was well before a sort of second act in Smith’s career that found her prim and proper as a chaperone in A Room with a View, primly comic as the mother superior in Sister Act with Whoopi Goldberg, cranky in The Best Exotic Marigold Hotel movies, crankier still as the woman who came to stay in Alan Bennett’s driveway in The Lady in the Van, and downright viperish as mother to Ian McKellen’s King in Shakespeare’s Richard III.

Though he’d been slaughtering all comers for most of the movie at that point, there was such venom in her declaration that he was “proud, subtle, sly and bloody,” that McKellen looked shaken. As well he might.

Contemporary playwrights had also taken note. Peter Shaffer, the author of Amadeus and Equus, remembered he was once asked by Smith at a party why he kept writing plays about two men talking. He responded by going home and writing Lettice and Lovage specifically for her, about an extravagantly over-imaginative tour guide “to celebrate her glee and glitter and perfect timing,” he told interviewers. “And above all wit — her presence is witty. ”

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Act Three: From Harry Potter to Downton

And then Smith’s career — for which she’d been made a Commander of the Order of the British Empire, and later a Dame and a member of the Order of the Companions of Honor — had a third act. One in which her fame grew out of all proportion to what she’d known before. Children recognized her on the street from the Harry Potter movies (she was in all but one of them).

Maggie Smith as Violet, Dowager Countess of Grantham on Downton Abbey.

Maggie Smith as Violet, Dowager Countess of Grantham on Downton Abbey.

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Nick Briggs/PBS

And while she was casting spells on kids, their parents and grandparents awaited her every utterance on TV’s Downton Abbey, where for six seasons, she brought a capricious sense of humor to the sort of woman she never was in real life — aloof, entitled, un-diplomatic, impatient, argumentative, hidebound, and so thoroughly winning, audiences couldn’t get enough of her.

That, at least, Lady Violet had in common with the woman who played her. Maggie Smith left audiences craving more of her presence for seven decades, though she worked so constantly that the dowager countess’ most famously clueless question — “what is a weekend?” — might almost have been her own.

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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